Invoking the Ancient Authority and the Wisdom of Vitruvius: Charles Robert Cockerell’S Classical Principles of Architecture

Total Page:16

File Type:pdf, Size:1020Kb

Invoking the Ancient Authority and the Wisdom of Vitruvius: Charles Robert Cockerell’S Classical Principles of Architecture Diploma Lecture Series 2013 Revolution to Romanticism: European Art and Culture 1750-1850 Invoking the ancient authority and the wisdom of Vitruvius: Charles Robert Cockerell’s classical principles of architecture Dr Peter Kohane 18/19 September 2013 Lecture summary: Lecturing at the Royal Academy in London from 1841 to 1856, C.R. Cockerell defended the Vitruvian analogy between architecture and the human body. His theory will be considered by referring to the human-like disposition of columns, doors, windows, balconies and mouldings. Cockerell also explored the nature of the creative process by invoking the idea of a dream of history. The architect’s designs will be analysed with reference to the main door of the Liverpool and London Insurance Office, the animated details of the Liverpool branch of the Bank of London, and the balconies and windows of the Ashmolean Museum and Taylorian Institute (Oxford, 1839- 40). The lecture also argues that his project for the Royal Exchange was conceived as a perfect body, in which its ideal forms reveal, by contrast, the tragic dimension in everyday life. Slide list: Temple of Aphaia, Aegina, 5th century BC *Temple of Apollo Epicurius, Bassae, 5th century BC *Charles Robert Cockerell, London and Liverpool Insurance Office, Liverpool, 1855 Charles Robert Cockerell, Bank of England, Liverpool, 1845 Robert Adam, Kenwood House, London, 1764-73 Hawksmoor, St. Mary Woolnoth, Bank, London, 1716-24 Charles Robert Cockerell, The Professor’s Dream, 1848, Watercolour, Royal Academy, London *Charles Robert Cockerell, Ashmolean Museum and Taylorian Institute, Oxford, 1839-45 *Charles Robert Cockerell, Unbuilt Project for the Royal Exchange. London, 1840, Lithograph Reference: Peter Kohane, “Order and variety in the work of C. R. Cockerell”, Fabrications, 10, 1999, 100-111 David Watkin, C. R. Cockerell, London, 1974 Proudly sponsored by Images: Temple of Apollo Epicurius, Bassae, 5th century BC Charles Robert Cockerell, London and Liverpool Insurance Office, Liverpool, 1855 Charles Robert Cockerell, Ashmolean Museum and Taylorian Institute, Oxford, 1839-45 Charles Robert Cockerell, Unbuilt Project for the Royal Exchange. London, 1840, Lithograph .
Recommended publications
  • International Symposium
    Xl. ve XVIII. yüzyıllar Xl. to XVIII. centuries iSLAM-TÜRK MEDENiYETi VE AVRUPA ISLAMIC-TURKISH CIVILIZATION AND EUROPE Uluslararası Sempozyum International Symposium iSAM Konferans Salonu !SAM Conference Hall Xl. ve XVIII. yüzyıllar islam-Türk Medaniyeti ve Avrupa ULUSLARARASISEMPOZYUM 24-26 Kas1m, 2006 · • Felsefe - Bilim • Siyaset- Devlet • Dil - Edebiyat - Sanat • Askerlik • Sosyal Hayat •Imge fl,cm. No: Tas. No: Organizasyon: Türkiye Diyanet Vakfı islam Araştırmaları Merkezi (iSAM) T.C. Diyanet işleri Başkanlığı Marmara Üniversitesi ilahiyat Fakültesi © Kaynak göstermek için henüz hazır değildir. 1 Not for quotation. ,.1' Xl. ve XVIII. yüzyıllar Uluslararası Sempozyum DIFFERING ATTITUDES OF A FEW EUROPEAN SCHOLARS AND TRAVELLERS TOWARDS THE REMOVAL OF ARTEFACTS FROM THE OTTOMAN EMPIRE Fredrik THOMASSON• The legitimacy of removal of artefacts from the Ottoman Empire during the Iate 181h and early 191h century was already debated by contemporary observers. The paper presents a few Swedish scholars/travellers and their views on the dismemberment of the Parthenon, exeavation of graves ete. in the Greek and Egyptian territories of the Empire. These scholars are often very critica! and their opinions resemble to a great extent many of the positions in today's debate. This is contrasted with views from representatives from more in:fluential countries who seem to have fewer qualms about the whotesale removal of objects. The possible reasons for the difference in opinions are discussed; e.g. how the fact of being from a sınaller nation with less negotiating and economic power might influence the opinions of the actors. The main characters are Johan David Akerblad (1763-1819) orientalist and classical scholar, the diplomat Erik Bergstedt (1760-1829) and the language scholar Jacob Berggren (1790-1868).
    [Show full text]
  • Hoock Empires Bibliography
    Holger Hoock, Empires of the Imagination: Politics, War, and the Arts in the British World, 1750-1850 (London: Profile Books, 2010). ISBN 978 1 86197. Bibliography For reasons of space, a bibliography could not be included in the book. This bibliography is divided into two main parts: I. Archives consulted (1) for a range of chapters, and (2) for particular chapters. [pp. 2-8] II. Printed primary and secondary materials cited in the endnotes. This section is structured according to the chapter plan of Empires of the Imagination, the better to provide guidance to further reading in specific areas. To minimise repetition, I have integrated the bibliographies of chapters within each sections (see the breakdown below, p. 9) [pp. 9-55]. Holger Hoock, Empires of the Imagination (London, 2010). Bibliography © Copyright Holger Hoock 2009. I. ARCHIVES 1. Archives Consulted for a Range of Chapters a. State Papers The National Archives, Kew [TNA]. Series that have been consulted extensively appear in ( ). ADM Admiralty (1; 7; 51; 53; 352) CO Colonial Office (5; 318-19) FO Foreign Office (24; 78; 91; 366; 371; 566/449) HO Home Office (5; 44) LC Lord Chamberlain (1; 2; 5) PC Privy Council T Treasury (1; 27; 29) WORK Office of Works (3; 4; 6; 19; 21; 24; 36; 38; 40-41; 51) PRO 30/8 Pitt Correspondence PRO 61/54, 62, 83, 110, 151, 155 Royal Proclamations b. Art Institutions Royal Academy of Arts, London Council Minutes, vols. I-VIII (1768-1838) General Assembly Minutes, vols. I – IV (1768-1841) Royal Institute of British Architects, London COC Charles Robert Cockerell, correspondence, diaries and papers, 1806-62 MyFam Robert Mylne, correspondence, diaries, and papers, 1762-1810 Victoria & Albert Museum, National Art Library, London R.C.
    [Show full text]
  • Observations on the Intended Reconstruction of the Parthenon on Calton Hill
    Marc Fehlmann A Building from which Derived "All that is Good": Observations on the Intended Reconstruction of the Parthenon on Calton Hill Nineteenth-Century Art Worldwide 4, no. 3 (Autumn 2005) Citation: Marc Fehlmann, “A Building from which Derived ‘All that is Good’: Observations on the Intended Reconstruction of the Parthenon on Calton Hill,” Nineteenth-Century Art Worldwide 4, no. 3 (Autumn 2005), http://www.19thc-artworldwide.org/autumn05/207-a- building-from-which-derived-qall-that-is-goodq-observations-on-the-intended-reconstruction- of-the-parthenon-on-calton-hill. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. ©2005 Nineteenth-Century Art Worldwide Fehlmann: A Building from which Derived "All that is Good" Nineteenth-Century Art Worldwide 4, no. 3 (Autumn 2005) A Building from which Derived "All that is Good": Observations on the Intended Reconstruction of the Parthenon on Calton Hill by Marc Fehlmann When, in 1971, the late Sir Nikolaus Pevsner mentioned the uncompleted National Monument at Edinburgh in his seminal work A History of Building Types, he noticed that it had "acquired a power to move which in its complete state it could not have had."[1] In spite of this "moving" quality, this building has as yet not garnered much attention within a wider scholarly debate. Designed by Charles Robert Cockerell in the 1820's on the summit of Calton Hill to house the mortal remains of those who had fallen in the Napoleonic Wars, it ended as an odd ruin with only part of the stylobate, twelve columns and their architrave at the West end completed in its Craigleith stone (fig.
    [Show full text]
  • 310 Charles Robert Cockerell's Formation of Architectural Principles
    Proceedings of the Society of Architectural Historians Australia and New Zealand Vol. 32 Edited by Paul Hogben and Judith O’Callaghan Published in Sydney, Australia, by SAHANZ, 2015 ISBN: 978 0 646 94298 8 The bibliographic citation for this paper is: Kohane, Peter. “Charles Robert Cockerell’s Formation of Architectural Principles.” In Proceedings of the Society of Architectural Historians, Australia and New Zealand: 32, Architecture, Institutions and Change, edited by Paul Hogben and Judith O’Callaghan, 310-318. Sydney: SAHANZ, 2015. Peter Kohane, UNSW Australia Charles Robert Cockerell’s Formation of Architectural Principles In contributing to the conference theme of the ‘history of architectural and design education’, this paper focuses on an aspect of Charles Robert Cockerell’s career, which is the genesis of design principles, most significantly the human analogy. The architect’s early ideas are worthy of consideration, because they remained vital to his mature work as Professor of Architecture at the Royal Academy in London. When lecturing at this institution from 1841 to 1856, he set out principles that had a significant impact on architects in Britain. Cockerell’s initial concepts will be identified in statements about sculptures and buildings, which were studied when travelling in Greece, Asia Minor and Italy. His responses to renowned ancient Greek and Renaissance works were recorded in letters and diaries. These offer insight into a principle, in which an architect imitates the ‘human form divine’ and historical monuments. Cockerell was especially impressed by the representation of human vitality in Greek figure sculptures, as well as the delicate curved line of a column.
    [Show full text]
  • The Architectural Practice of Gerard Wight and William Lucas from 1885 to 1894
    ABPL90382 Minor Thesis Jennifer Fowler Student ID: 1031421 22 June 2020 Boom Mannerism: The Architectural Practice of Gerard Wight and William Lucas from 1885 to 1894 Submitted in partial fulfilment of the requirements of the degree of Master of Urban and Cultural Heritage, Melbourne School of Design, University of Melbourne Frontispiece: Herbert Percival Bennett Photograph of Collins Street looking east towards Elizabeth Street, c.1894, glass lantern slide, Gosbel Collection, State Library of Victoria. Salway, Wight and Lucas’ Mercantile Bank of 1888 with dome at centre above tram. URL: http://handle.slv.vic.gov.au/10381/54894. Abstract To date there has been no thorough research into the architectural practice of Wight and Lucas with only a few of their buildings referred to with brevity in histories and articles dealing with late nineteenth-century Melbourne architecture. The Boom era firm of Wight and Lucas from 1885 to 1894 will therefore be investigated in order to expand their catalogue of works based upon primary research and field work. Their designs will be analysed in the context of the historiography of the Boom Style outlined in various secondary sources. The practice designed numerous branches for the Melbourne Savings Bank in the metropolitan area and collaborated with other Melbourne architects when designing a couple of large commercial premises in the City of Melbourne. These Mannerist inspired classical buildings fit the general secondary descriptions of what has been termed the Boom Style of the 1880s and early 1890s. However, Wight and Lucas’ commercial work will be assessed in terms of its style, potential overseas influences and be compared to similar contemporary Melbourne architecture to firstly reveal their design methods and secondly, to attempt to give some clarity to the overall definition of Melbourne’s Boom era architecture and the firm’ place within this period.
    [Show full text]
  • UCLA Electronic Theses and Dissertations
    UCLA UCLA Electronic Theses and Dissertations Title The State of Architecture Permalink https://escholarship.org/uc/item/6s86b2s6 Author Fabbrini, Sebastiano Publication Date 2018 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles The State of Architecture A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Architecture by Sebastiano Fabbrini 2018 © Copyright by Sebastiano Fabbrini 2018 ABSTRACT OF THE DISSERTATION The State of Architecture by Sebastiano Fabbrini Doctor of Philosophy in Architecture University of California, Los Angeles, 2018 Professor Sylvia Lavin, Chair Although architecture was historically considered the most public of the arts and the interdependence between building and the public realm was a key feature of the post-war discourse, the process of postmodernization undermined the traditional structures of power through which architecture operated. At the center of this shakeup was the modern structure par excellence : the State. This dissertation analyzes the dissolution of the bond between architecture and the State through a double lens. First, this study is framed by the workings of an architect, Aldo Rossi, whose practice mirrored this transformation in a unique way, going from Mussolini’s Italy to Reagan’s America, from the Communist Party to Disneyland. The second lens is provided by a set of technological apparatuses ii that, in this pre-digital world, impacted the reach of the State and the boundaries of architecture. Drawing on the multifaceted root of the term “State,” this dissertation sets out to explore a series of case studies that addressed the need to re-state architecture – both in the sense of relocating architecture within new landscapes of power and in the sense of finding ways to keep reproducing it in those uncharted territories.
    [Show full text]
  • Friday May 11 1810
    214 Constantinople, May 11th-July 17th 1810 Constantinople May 11th–July 17th 1810 Edited from B.L. Add. Mss. 56529 Constantinople is a much more interesting place than Athens. The “English Palace”, or Embassy, provides Byron and Hobhouse with a wider circle of friendly associates than do Mrs Macri, or Lusieri, Fauvel and Galt. And although the city has nothing to parallel the mythical power of the Acropolis, and its environs nothing to equal the plain of Marathon, it has plenty of surprises to make up. The myth which grows in the young men’s minds about the tragic reforming Sultan Selim III – assassinated only the year before – is balanced by a glimpse of realpolitik when they experience an audience with his successor, the cryptic Mahmoud II. Athens has in 1810 ceased to exist, and is ruled by spooks; Constantinople is an energetic metropolis, politically mobile and socially pullulating: there are floor shows of every kind, from the quasi- sacred to the freakishly pornographic. All Greece can offer is rude puppet displays; in Constantinople you can chose between bazaars and mosques, the Turning Dervishes (May 25th), and the Howling Dervishes (June 26th), lascivious boys dancing and toothless prostitutes touting, the a—e palace and the Hagia Sophia, the Valley of Sweet Waters and the Symplegades. Friday May 11th 1810: Fair light wind and rain. Weighed anchor [at] ten. Passed the forts – saluted, seventeen guns – returned by the Asia Fort. Sailing along, came to where the Hellespont appears the narrowest: a battery on Asia side, and high land with a vale running down to the shore, forty miles at least from [the] town of Maito1 in the bay on the Europe side, and five from the Dardanelles.
    [Show full text]
  • Ashmolean Museum Building No
    The Ashmolean Museum Building No. 104 ConservationThe Ashmolean Museum, Plan OxfordJuly 12012 Conservation Plan, July 2012 Oxford University Estates Services First draft July 2012 The Ashmolean Museum, Oxford 2 Conservation Plan, July 2012 THE ASHMOLEAN MUSEUM, OXFORD CONSERVATION PLAN CONTENTS 1 INTRODUCTION 7 1.1 Purpose of the Conservation Plan 7 1.2 Scope of the Conservation Plan 8 1.3 Existing Information 9 1.4 Methodology 9 1.5 Constraints 9 2 UNDERSTANDING THE SITE 13 2.1 History of the Site and University 13 2.2 Construction, and Subsequent History of the Ashmolean Museum 15 3 SIGNIFICANCE OF THE ASHMOLEAN MUSEUM 33 3.1 Significance as part of Beaumont Street, the City Centre, and the Central 33 (City and University) Conservation Area 3.2 Architectural Significance 35 3.2.1 Charles Robert Cockerell 35 3.2.2 Exterior Elevations 36 3.2.3 Interior Spaces 38 3.3 Archaeological Significance 40 3.4 Historical and Cultural Significance 40 3.5 Significance as a Functioning Museum 41 4 VULNERABILITIES 45 4.1 Accessibility 45 The Ashmolean Museum, Oxford 3 Conservation Plan, July 2012 4.2 Maintenance 46 4.2.1 Exterior Elevations and Setting 46 4.2.2 Interior Spaces 48 4.2.2.1 The Entrance Hall 48 4.2.2.2 The Randolph Gallery 50 4.2.2.3 The West Gallery 51 4.2.2.4 The Basement Vaults 52 4.2.2.5 The Great Staircase 53 4.2.2.6 The Founders Room 55 4.2.2.7 The Fox Strangways Room 55 4.2.2.8 The Great Gallery 56 4.3 Collections and Environmental Conditions 58 5 CONSERVATION POLICY 61 6 BIBLIOGRAPHY 69 7 APPENDICES 75 Appendix 1: Listed Building
    [Show full text]
  • In Search of Agamemnon
    In Search of Agamemnon In Search of Agamemnon: Early Travellers to Mycenae By Dudley Moore, Edward Rowlands and Nektarios Karadimas In Search of Agamemnon: Early Travellers to Mycenae, by Dudley Moore, Edward Rowlands and Nektarios Karadimas This book first published 2014 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2014 by Dudley Moore, Edward Rowlands, Nektarios Karadimas All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-5621-5, ISBN (13): 978-1-4438-5621-8 Fig. 1: The Lion Gate at Mycenae following Schliemann’s discoveries, front page of The Illustrated London News, February 3, 1877 (the artist is most probably William Simpson) CONTENTS Preface ........................................................................................................ xi Acknowledgements .................................................................................. xiii List of Figures............................................................................................ xv Introduction ................................................................................................ 1 Chapter One ................................................................................................
    [Show full text]
  • Two Borderline Works: the Miniature Classical Friezes by John Henning
    Европейское искусство Нового времени 97 УДК: 7.026.2, 7.035(420)26, 73.027.2 ББК: 85.13 А43 DOI: 10.18688/aa200-1-8 S. Rambaldi Two Borderline Works: The Miniature Classical Friezes by John Henning In recent times, I was commissioned to rearrange a plaster cast collection of ancient sculpture, dating from the last decades of the 19th century, belonging to the Department of Cultures and Societies of the University of Palermo in Italy. After a hard work of recovery, involving also the restoration of various pieces, the gallery of plaster casts was inaugurated and opened to the public on February 27, 2018, with the name “Gipsoteca del Dipartimento Culture e Società” (Ill. 6). The collection comprises a total of forty casts, a big part of which had been kept in a warehouse for fifty years. Among the forgotten casts I found two items, both framed in wood, of great interest. They are plaster replicas of two reproductions, complete but greatly miniaturized, of two very important Greek friezes of classical age1. The first one is the most famous of all Greek friezes, the Parthenon frieze, depicting the annual Panathenaic procession, by which every year the Athenians offered a sacred peplum to their guardian goddess Athena (Ill. 7). The other one is the frieze of the temple of Apollo Epikourios at Bassae, close to the modern village of Phigaleia, in the heart of the Peloponnese (Ill. 8). Like most part of the Athenian frieze, this second figurative series, representing scenes of Amazonomachy and Centauromachy, is on display at the British Museum in London2.
    [Show full text]
  • Oxford DNB Article: Society of Dilettanti 2015-05 12/26/15, 6:38 AM
    Oxford DNB article: Society of Dilettanti 2015-05 12/26/15, 6:38 AM Society of Dilettanti (act. 1732–2003) by Jason M. Kelly © Oxford University Press 2004–15 All rights reserved Society of Dilettanti (act. 1732–2003) was founded by a group of gentlemen who met each other in Italy while on the grand tour. Thus travel to Italy, and later Greece, became a requirement for membership. The word dilettante is of Italian origin and its adoption by the society to refer to a lover of fine arts is its first recorded use in English. Early organization and membership One of thousands of British associations that were formed during the Enlightenment, the Dilettanti originally met for informal conversation in London during the first years of the society's existence. The probable initiators of the society, in 1732, were Gustavus Hamilton, second Viscount Boyne (1710–1746); Charles Sackville, earl of Middlesex; Sir Francis Dashwood, later eleventh Baron Le Despencer; Joseph Spence; Sir James Gray; Sewallis Shirley (1709–1765); William Ponsonby, later Viscount Duncannon and second earl of Bessborough; William Denny; and William Strode (c.1712–1755), who had been intimates both in Italy and upon their return to England. Unlike many other organizations in clubbable eighteenth-century London, the Society of Dilettanti formalized its meetings by recording its rules, membership list, minutes, and finances. At the first recorded meeting, at the Bedford Head tavern, Covent Garden, on 6 March 1736, were present Thomas Archer (1695–1768), a Warwickshire landowner and politician, eventually first Baron Archer, who was the society's first recorded president; Lord Boyne; John Howe (1707–1769); Sir James Gray; Dashwood; George Gray [see under Gray, Sir James]; William Degge (b.
    [Show full text]
  • As Greek As It Gets: British Attempts to Recreate the Parthenon Marc Fehlmann
    Rethinking History Vol. 11, No. 3, September 2007, pp. 353 – 377 As Greek As It Gets: British Attempts to Recreate the Parthenon Marc Fehlmann The arrival of the Elgin Marbles in Britain and several ambitious attempts to reconstruct the Parthenon in London, Cambridge and elsewhere fostered its general reputation as ‘a building from which derived all that is good’. While it is well known that the high esteem held for the Parthenon after the defeat of Bonaparte was predicated by a change in taste and by associating this monument with the defeat of the Persians by the Greeks in 479 BC, another crucial issue has as yet been overlooked: the self-interest of those attempting to recreate the Parthenon. By linking their own present with an alien, even fictitious, past, they wished to associate themselves with an aura of greatness that would suggest their own heroic power. Putting themselves on the same level as Pericles, Pheidias, Iktinos and Kallikrates, they could argue for their own cultural superiority while hoping for kleos aphthiton—fame and glory that outlast death. No other monument from the ancient world could, at the time, have offered a more suitable basis for such approbation. The article focuses on the British reception of the Parthenon in the early nineteenth century. It introduces new evidence as to how and why, after the Napoleonic Wars, the British epitomized the Periclean monument as the pinnacle of human accomplishment. It argues that the monument was reintegrated into the Western art canon by replicating its sculpture through plaster casts and by substituting historic facts for fiction.
    [Show full text]